Flashcards

Pop7

Lisza Neumeier Popular Culture English 26 cards

Cards in this deck (26)

1Dimensions of Film Film as-a form of art
-history
-technology
-culture industry (HOllywood, Bollywood, Nollywood)
-a site for the production of subjectivity (eg. romcom) and (cultural, national) identity (eg. Western)
2Sample Film Studies Will Wright
3Will Wright classic transnational professional
4Sample Film Studies: Laura Mulvey 'Visual Pleasure and Narrative Cinema'' (1975) which film theories?feminist film theory, Freudian
classical Hollywood cinema: spectator in masculine subject position --> male gaze
5Sample Film Studies: Laura Mulvey 'Visual Pleasure and Narrative Cinema'' (1975) scopophilia?controlling, (sexual) objectification, countering castration anxiety:
-voyeuristic: woman as image 'to be looked at'; film noir
-fetishistic: (fragmented) female body as pleasurable (rather than dangerous)
6Sample Film Studies: Laura Mulvey 'Visual Pleasure and Narrative Cinema'' (1975) to-be-looked-at-ness (f)woman as the object of desire & the male gaze, bearer of the look
'(passive) raw material for the (active) male gaze'' (17)
eg. showgirl: intra and extradiegetic scopophilia (other/male characters; audience)
critique: biologism; passive (female) audience, female pleasure?
7Christine Gledhill & Jackie Stacey 2000s? negotiation of filmic text (audience, text, institution)feminist interest in popular c --> conditions of consumption
“As a model of meaning production, negotiation conceives of cultural exchange as the intersection of processes of production and reception ...Meaning is neither imposed, nor passively imbibed, but arises out of a struggle or negotiation between competing frames of reference, motivations and experience“ (101, qtd. in Storey 86)
8Christine Gledhill & Jackie Stacey study of female audiences1940s/50s female Hollywood stars
vs. psychoanalytic criticism (Mulvey)
textual -> actual spectators:
# escapism as utopian possibility (Richard Dyer); textual & social pleasure
# identification & identificatory practices Power, control, self-confidence
# consumerism: e.g. consuming American femininity v. GB gender roles
93. The ‘Language' of Film & TV Narrative Codes Technical Codes Representational Codes Audio Codes
10Technical & Representational Codes: Basics mise-en-scene shot scene sequence (longer) camera angle
11Frames & Scale LONG SHOT medium long shot extreme long shot
12Frames & Scale CLOSE-UP medium close-up extreme close-up wide-angle shot
13Cinematography =?= construction of a shot: look of an image, its balance of dark and light, the depth of the space in focus, the relation of background and foreground, etc.
14deep focussignificant elements occupy separated planes in
the image, elements at different depths of the image both in focus.
Touch of Evil (Orson Welles1958)
15shallow focusonly one plane
in sharp focus; used to direct
attention to one element of a
scene; e.g. close-up:
psychological introspection;
melodrama (Avatar, James Cameron 2012)
16de/centered framingedges of the image create a “frame," in-/excludes aspects of what occurs in front of the camera; e.g. failed struggle to find a place in their world (Lost in Translation, Sofia Coppola 2012)
17colorused to create aesthetic patterns and to establish character or emotion in narrative cinema e.g. separate reality and fantasy/daydreamings of the title character; shimmering Technicolor (An American in Paris, Vincente Minelli 1951) -> out-of-this-world glamor and excitement
18lighting & contrast:ratio of dark to light in an image; high/low contrast (=naturalistic); dark scenes (horror film, film noir)
contrast light/dark // good/evil
racist or sexist connotations (e.g.Touch of Evil: high contrast -> racial difference blonde American woman & menacing Mexican man)
19Camera Movement handheld camera? tracking shot? pan? tilt?
20Sample Analysis
21TV History—TV as Medium & Machine
22TV History: The 21st Century
23In a rather reductive correspondence theory (which undermines much of the strength of Wright’s approach), he claims that each type of Western ‘corresponds’ to a different moment in the recent economic development of the USA.- The classic Western corresponds to the individualistic conception of society underlying a market economy
- The vengeance plot is a variation that begins to reflect changes in the market economy
- The professional plot reveals a new conception of society corresponding to the values and attitudes inherent in a planned, corporate economy
24polysemy: an episode that carries various meanings: not everyone interprets a series the same way: 3 positions within this framework = 3 productions of meaning:o dominant (hegemonic) position: preferred code: the intention behind the show: on the side of the producers
o negotiated position: the majority of the audience will take the preferred meaning and takes the meaning structures that are important for their lives
o oppositional code: make something else out of it; shows that are produced for children (like Harry Potter)
25Theorizing Stuart Hall diagram
26Theorizing Stuart Hall diagram 2